Thomas Leggatt and family

Graeme Skinner (University of Sydney),
"Thomas Leggatt and family",
Australharmony (an online resource toward the history of music and musicians in colonial and early Federation Australia):
http://sydney.edu.au/paradisec/australharmony/leggatt-thomas.php; accessed 15 August 2018

Born Paddington, NSW, 2 May 1889 (daughter of William Alfred LEGGATT and Marjory Mary RHODES, grand-daughter of Alfred LEGGATT above)
Active Sydney, NSW, by 1906
Married George Henry Adolphus AIKEN, St. Matthew's, Auckland, NZ, 12 December 1923
Foundation member of ABC Wireless Chorus, 1832, to her retirement in 1941
Died Avalon, NSW, 22 August 1977

Summary:

According his obituary Leggatt had been for "28 years master of the 7th Hussars Band", which, if correct, means that he served in that role from c.1810,
and therefore during the late stages of Napoleonic Wars (the regiment fought in the Peninsula wars and at the Battle of Waterloo).

He was still with the Hussars as late as 1836 or 1837, but must have resigned, presumably no later than early 1838, since the regiment was redeployed to Canada in May that year,
and he can have sailed for Australia no later than November.
His name first appears in the Sydney press on 9 March 1839, in a report on a Cecilian Society concert earlier that week:

Amongst the performers on Wednesday evening, were Mr. W. Wallace, Mr. Leggett
(brother-in-law to Mr. Ellard, of George-street), Mr. Deane (the Leader) and family, Mr. Lee, and several Amateurs of musical talent.

He was indeed a brother-in-law of Francis Ellard; his wife Susan was Francis's sister, and eldest daughter of Andrew Ellard, who also arrived in Sydney in March 1839.

A much later report has him refers to him as a cousin of William Vincent Wallaces (his Ellard mother-in-law and Wallace's mother were sisters).

Thomas bought the license of the Hope and Anchor inn on the corner of Sussex and Druitt Streets in September 1839, which was to remain in his wife's hands long after his death.
In George Peck's concert in October he accompanied the Bushelles on the cornet in Bellini's Let the trumpet sound
("Suoni la Tromba", from I puritani), one of the earliest of documented concert performances of any Bellini work in Australia
(preceded only by Rosalie Deane singing Gentle Goddess a month earlier on 3 September).

Early on, he seems to have gained a critic in W. A. Duncan, who, noting his clarinet solo at the Gautrots's concert in November:

. . . should have had something to say in favour of Mr. Leggatt's Exile of Erin, if he had not put us out of all patience
previously to his performing it, by his conceited capers on the platform playing voluntaries, interludes and symphonies, and God knows what.

A Master Leggatt, presumably son of Thomas Leggatt, was listed among the treble vocalists at Isaac Nathan's Sydney Oratorio in June 1841.

Thomas junior was librarian of Sydney Philharmonic Society in 1860. He died in Fiji in August 1873.
Almost certainly he would not have been aware that his mother, Susan Leggatt, had died in Sydney in July.
Her nephew, William Barnes Ellard, was the executor of her estate.

My thanks (2018) to family historian,Steve Ford,
for kindly sharing the results of his extensive researches into the Leggatt, Ellard, Logan, and Wallace families.

Documentation:

As generally in this site, the document transcriptions below preserve as closely as practicable the orthography of the originals,
and spellings and other oddities are standardised or corrected only where confusion would otherwise arise.

1821

27 August 1821, Dublin, Ireland

[Advertisement], Saunders's News-Letter [Dublin] (27 August 1821), 2

NEW QUADRILLES. Just Published, BY I. WILLIS,
At the Harmonic Saloon, and Musical Circulating Library,
7, WESTMORLAND-STREET.

THE CORONATION QUADRILLES, with an entire New Set of Figures;
to which is added, King George the IV. Grand Waltz, and the Circular Road Waltz;
the Music arranged for the Harp, or Piano-Forte, by Mr. LEGGATT, Master of the 7th Hussar Band,
and Dedicated, by permission, to the Lady Mayoress.- Price 3s . . .

NEW MUSIC. This Day is Published, BY I. WILLIS,
At the Harmonic Saloon and Musical Circulating Library, NO. 7, WESTMORLAND STREET . . .
THE CORONATION QUADRILLES, with new Figures, and composed by Miss Crawford. Price 3s. . . .

1st stage - Hampstead to King of . . . [? inn] next Wolstenholme
2nd to [ ? ] - the Bull
3rd to Hitchin - the Red Hart
this day we had some heavy
rain - the other two
extremely hot and the roads
very dusty - Polson left behind sick Peters and Hawkins
4th day to St Neots - The Brown Barn - the appearance after of the
houses on this day march
very poor principally of [ ? ]
the weather heavy - a fine old
church - nothing striking in
the appearance of the town -
5th day - Huntingdon - the Coffee
house - the appearance of the country
seems to improve

[fol. 1v]

6th day - Stilton - Cody taken in
the George - the country very
fine - fine view of Whitlsea
Mare a large lake - 5 miles
from Norman Cross - the Sea
is supposed to have come up
this far formerly -
7th day - Stamford - The Dolphin
Bad
8th day - Grimthorpe - the Blue Lion - good
spent the Evg. with Roberts and
friends - went to the Royal again
remarkable fine Church steeple
9the Newark - the Hotel -
here there is the ruins of a fine
old Castle - built by the Bishop
of Lincoln in the Reign of King
Steven - King John died
here - a branch of the Trent
is navagable up to the Town
10th day - Bidford - nothing
striking in the town or

[fol. 2r]

neighbourhood - spent the evening
with Wolstenholme Brothers Th.
and Joseph - [ ? ] Arms
11th day - Doncaster entrance
to the town good but not so
superior as it is [ ? ]
the house disturbance in the night
12th Ferry bridge - the Weather
extremely hot

1826

Memo - Left York on
the 8th of April 1826 for
Edinburgh - Newcastle the
first night - stopped at the
Half Moon

"BALL AND CONCERT FOR THE RELIEF OF THE DISTRESSED MANUFACTURERS OF SCOTLAND", Caledonian Mercury [Edinburgh, Scotland] (27 May 1826), 3

On Thursday last a ball and concert was given in the Assembly Rooms,
George Street, for the benefit of the distressed manufacturers,
which was attended by a fashionable party of nearly 400 . . .

The band of the 7th hussars, by their performances the throughout the evening,
excited universal admiration. The airs of "Bid me discourse,"
and "Thro' the forests, thro' the meadows," were executed with peculiar taste
and expression; as were also "Tell me where is fancy bred," Largo al Factotum,"
and the overture to "La Gazza Ladra;" all of which are arranged by Mr. Leggatt,
the master of the band, and along with his performance on the clarionette,
proved his superior abilities as a performer, and a man of science and taste . . .

Theatre-Royal. MR. PRITCHARD'S BENEFIT. ON MONDAY next, 29th of May 1826, on which occasion,
by the kind permission of Colonel THORNHILL, the celebrated BAND OF THE SEVENTH HUSSARS will perform several
Popular Airs, Marches, and the Celebrated OVERTURE TO DER FREISCHUTZ by the Band of the Seventh Hussars and the
Orchestra of the Theatre Royal united . . .

At the end of the Play, for the first time in Public, will be performed on the Stage,
the celebrated Air of "Cherry Ripe" by the Band of the Seventh Hussars, and arranged by Mr. Leggatt . . .

Marched from Edinbro
March the 13th 1827
Haddington the Kings
Arms - the weather fine
went to see the ruins of
the church = Good
14th Dunbar - the Black
Buck - stoped in the room
that had been occupied
by Mary Queen of Scotts
visited the old Castle
formerly a strong fortress
built on [ ? ]
Rocks that [ ? ] into
the Sea - the Harbour
good but the entrance
to it very dangerous -
Quarters good - Wickham Inn
15th Berwick on Tweed
Nags Head - So So
16th Belford Black Swan

1832

5 November 1832, Norwich, England

"Report of the Proceedings of the GENERAL COURT MARTIAL AT NORWICH BARRACKS", Norfolk Chronicle [England] (17 November 1832), 4

November 5. Charles Edwards, Private in 7th Hussars, was Put upon his trial for exciting
and joining mutiny the 27th Sept. last . . . DEFENCE, Norwich Barracks, Nov. 7th, 1832 . . . I was then under the direction of Lieutenant-Major Thomas Leggatt, master of the band
(as in the capacity of a musician in the regiment). - I was shortly after marched to the riding school to hear the Court Martial and to
witness the punishment of private Pitman; I returned and was regularly dismissed by the master of the band . . .

1833

1 February 1833, Beeston, England

[News], Norfolk Chronicle (2 February 1833), 2

Yesterday sennight being the day on which Sir Jacob Henry Preston, Bart, attained his twenty-first year,
there was a grand and supper at Beeston Hall. The extended scale and excellent arrangements of which reflected great credit
on the taste and liberality of Lady Preston. Dancing began at about nine in the evening, and was kept up with unabated vigour till four the next morning.
Col. Keane having kindly given permission, the band of the 7th Hussars attended and obtained the highest approbation their masterly performances.
All the first families in the neighbourhood were present, amounting to nearly 200.

*

7 March 1833, Norwich, England

[News], Norwich Mercury (9 March 1833), 3

We were happy to see MR. MUELLER'S Concert Room at the Swan Inn, so fully and genteely attended on Thursday Evening,
when he gave his third Concert . . . the novelty of the evening was a quintetto concertante, of Reicha, for Oboe, Clarionet, Flute,
Bassoon, and Horn, by Mr. Leggatt, the Master of the band of the 7th Hussars; Sergeant Onion and three other performers in the same regiment.
The composition itself was perhaps more suited to a select audience of amateurs than to the public,
but it was nevertheless full of very rich and beautiful passages; and was performed with a precision
and delicacy we have rarely been accustomed to hear at a concert in Norwich . . .

ASSOCIATIONS:
Charles Henry Mueller (violinist, flautist, music-seller, conductor; formerly of London;
later of Boston and Nashville, USA); a bandsman of the 7th hussars at Norwich in 1833 was Henry Johnson,
who later, in the 1850s, served as master of the Band of the 40th Regiment in Victoria

We copy from the Glasgow Argus the following flattering tribute to the Master of the Band of
the above distinguished regiment with much pleasure, the compliment being as creditable to the individual as it is worthy of the donors: -
"MR. LEGGATT. - At a meeting of the members of the Philo-Harmonic Society, held last night the James Walt Tavern, Mr. Leggatt
was presented with a very handsome snuff-box, with the following inscription: - 'Presented to Thomas Leggatt, Esq., of the 7th
Hussars, the Philo-Harmonic Society, Glasgow, in testimony of his valuable services during the season, 1833-34.'"

Grand Musical Festival; the completion of the magnificent East Window of the Holy Trinity Church;
and for the benefit of the Hull Infirmary . . . The following is a list of the principal performers: - VOCAL. - Madame Caradori Allan,
Miss Masson, Miss Clara Novello, Madame Stockhausen, Mr. Braham, Mr. Hobbs, Mr. Machin,
and Mr. Phillips. INSTRUMENTAL - Leader, Mr. F. Cramer . . .Sir George Smart was the Conductor . . .and the entire vocal band,
(comprising the members of the Hull Choral Society, of the Choirs of York and Lincoln Cathedrals,
and a numerous of the celebrated West Riding Choristers,) consisted of about 157 performers; the instrumental of 78 . . .a grand total of 239 performers, of whom the following were from York: - Violins, Allen, Hildreth, Hunt, and Jackson;
Viola, Tomlinson; Oboe, Leggatt (master of the band 7th hussars); Treble-voices, Master Barnby, Master Smith,
two Masters and Mrs. Robinson; Tenors, Messrs. Barker, Crump, Dixon; Basses, Messrs. Ellis and Masser.

This Society, to which we last week adverted, gave its first anniversary Concert on Tuesday last, in the Festival Concert Room.
This splendid room was very nearly filled by a respectable audience; who seemed much to enjoy the evening's entertainment,
which consisted of the following pieces.

We certainly were not prepared, in the infancy, as it may be termed, of this society, to find the members capable of giving a concert,
in which there was so much to praise, and so little to condemn. - The band, reinforced by Mr. Leggatt, the master, and several of the members, of the band the
7th hussars, was led by Mr. W. HARDMAN, and performed the instrumental pieces and accompaniments in very good style.
The overtures to Semiramide and Guillaume Tell, went uncommonly well . . . The two instrumental solos, were very effective performances.
Mr. Bean perfectly understands his instrument (the horn), and, with more practice, cannot fail of becoming an excellent performer . . .
Mr. JAMES WALKER is already an excellent clarionet performer . . . Of the solos, "The British Oak" was given by Mr. GEORGE WILSON,
in a style which would not have disgraced a concert of much higher pretensions. It was deservedly encored;
and given the second time even better than the first. The orchestral accompaniments to this song were composed on a very short notice by Mr. Leggatt,
- the original score being sent to Birmingham, and not returnable in time. They were very beautiful, and reflected great credit upon him . . .

ASSOCIATIONS: William Hardman (1792-1855 suicide) was brother of
Daniel Hardman, also a musician,
who settled in Melbourne, VIC, c.1853

This Concert was given in the Great Assembly-Room, on Tuesday evening,
under the patronage of Lady B. Johnstone, daughter of his Grace the Archbishop of York,
and was numerously and fashionably attended . . . The only novelty in the scheme was the composition from "Mount Sinai," in which
Neukomm has displayed his superior qualifications in writing for the orchestra,
the accompaniments being exceedingly beautiful. There is a delicious solo for the oboe in the
opening movement, which was delightfully played by Mr. Leggatt, band master of the 7th Hussars.
Mrs. Knyvett appeared in good voice . . . but the audience never got awakened to anything approaching enthusiasm,
in their plaudits of either the vocal or instrumental performances . . .

ASSOCIATIONS:
Deborah Travis Kynvett (soprano), was the wife of coutertenor singer William Knyvett (1779-1856);
William's nephew Edmund Knyvett was in Sydney, NSW, in 1852-53, before settling in New Zealand

This Society gave a public concert on Tuesday evening last,
at the Merchants' Hall. The room was exceedingly crowded . . .Part I consisted the
following selection from Handel's Messiah, Overture . . .The second part comprised a miscellaneous
selection, which included . . . Overture, Don Mendoza (Romberg) . . . The band was most effective
in the overtures; and the one composed by Romberg was encored. The assistance of Mr. Leggatt,
the leader, and several the band of the 7th Hussars, added much to the effect of these performances . . .

1835

27 January 1835, York, England

"FULL DRESS BALL", Yorkshire Gazette [England] (31 January 1835), 2

This ball, so long anticipated, and twice postponed on account of the elections, took place on Tuesday evening last . . . Dancing commenced at ten o'clock; quadrilles and waltzes succeeding each other in the Concert-Room, and the gallopade
prevailing in the Assembly-Room. Hardman's quadrille band played in the former, and the band of the seventh Hussars led by Mr. Leggatt, in the latter . . .

No concert of the Musical Society ever gave so great pleasure the one which took place Monday evening last.
The attractions were rich and varied: Miss Clara Novello, the pearl the treat, - Mr. Clegg, the tasteful trumpeter, from Sheffield,
- Thirlwall and Rudersdorff, two extraordinaries on the violin,- Leggatt, the clever performer on the oboe and clarionet; together with
five of the band of the 7th Hussars, and the whole of the society's regular performers. We scarcely know where to commence our string of
commendations - the whole was so excellent, and all who listened were so pleased. The Overtures were struck off capital style, the
Glees finely executed; and had not the audience been puzzled with the variety of their excitements, some of the latter would no doubt
have been encored . . .

A succession of musical treats of no common quality is in preparation for the week preceding Christmas . . .
On Friday evening the 18th, the Musical Society also open their campaign with a splendid
display of first-rate talent. M. and Mde. Stockhausen, Mdlle. Bildstein, Mr. Leggatt of the 7th Hussars, with other
performers from the regimental band, and Mr. Leng of Hull, are engaged, in addition to the usual and effective native corps . . .

1836

26 January 1836, Stamford, England

"MUSICAL SOCIETY", Stamford Mercury [England] (29 January 1836), 3

The concert last Tuesday night was, on the whole, a highly pleasing one.
The instrumental band was weak, owing to the presence of Mr. Leggatt and the
expected Hussars being pretermitted by their commanding officer;
but the attractive performances of M. Stockhausen on the harp, the full clear-throated
tones of Mademoiselle Bildstein, - and, above all, the exquisite execution of the
Stockhausen herself, almost banished the remembrance that the Hussars bad been promised . . .

The concert on Wednesday night closed the season in capital style -
Clara Novello was more than ever charming: her "Jock of Hazeldean" was enchanting, and was encored.
Leggatt on the oboe and clarinet was a host in himself to the instrumental band;
and young Farmer, of Nottingham, gave a violin concerto which was most rapturously encored.

[News], Nottingham Review and General Advertiser for the Midland Counties [England] (29 April 1836), 2

The Lincoln Musical Society's last concert, on Wednesday week, was attended quite as fully
as on any former occasion. Miss Clara Novello was in most enchanting voice, and imparted more than usual pleasure.
Messrs. Brook, Knowles, and Ashton, were equal to their highest promise. - Mr. Leggatt's performance on the
clarionet was highly admired for the profound skill and taste it displayed . . .

1838

HER MAJESTY'S Seventh REGT. of Hussars
Whereof Gen'l. the Marquis of Anglesey is Colonel
No 1. Serjeant Thomas Leggatt, BORN in the Parish of Kinsale
in or near the Town of Kinsale in the County of Cork by Trade a Musician
ATTESTED for the Seventh Regiment of Hussars at Dublin in the County of Dublin on the 28th June 1810
at the age of Nineteen years which he is entitled to reckon up to the 4th May 1838 is
1ST SERVICE AFTER the Age of 18 Years, Twenty Years and Twenty Seven [sic] days, the statement of which is as follows:

Private / 25th June 1810 to 24 Decr. 1810 / 183 days
Promoted Serjeant / 25th Decr. 1810 to 21st July 1830 / 19 years, 209 days
x Promoted Sergeant / 22 July 1830 to 4th May 1838 / Nil
x The Period from his last enlistment to the present date not allowed to reckon agreeable
to letter from Horse Guards dated 6th July 1830

Total Service up to the 4th Mary 1838 [as] Serjeant / 19 years 207 days [sic]

Description of Thomas Leggatt at the time of discharge.

He is 47 Years of Age, 5 feet 10 3/4 Inches in Height, Grey Hair, Grey Eyes, Fresh Complexion, by Trade a Musician.

This Society, which has been established nearly three months, has flourished in a manner almost beyond the anticipations of its originators.
There are about one hundred subscribers on the list, most of whom are performers upon some musical instrument, or who contribute to the vocal entertainment of the evening.
Amongst the performers on Wednesday evening, were Mr. W. Wallace, Mr. Leggett (brother-in-law to Mr Ellard, of George-street), Mr. Deane (the Leader) and family,
Mr. Lee, and several Amateurs of musical talent. The Glee department is under the direction of Mr. Johnstone, professor of music;
and although the attendance was thin, in consequence of the unfavorable weather, the performance in the musical department was of the first order.
The overtures to Gustavus and William Tell elicited great applause; Mr. Leggett's oboe and Mr. Wallace's flute produced a fine effect;
Mr. Wallace performed several of the Irish Melodies on the violin, without any of the Monitor's "fantasias" ( !!! );
his tones were full, his stopping minutely perfect, and the few graces, ad libitum, were chaste.
It is said by the first judges that Mr. Leggett is, without exception, the best musician in the colony.
It is intended to request His Excellency to become the Patron of this cheap and instructive Society, which, when properly organized,
will afford the delight of a concert in every sense of the word, once a-week, for the trifling sum of five shillings a-month.

Royal Victoria Theatre, Sydney . . . MRS. CLARKE'S BENEFIT . . . MONDAY MAY 13, 1839 . . .
for the first time in the Colony, the musical burletta, in two Acts, of MIDAS; APOLLO - MRS. CLARKE; AFTER WHICH,
A Musical Melange, In which MR. LEGGETT will, for the first time, play a Concerto on the Clarionet.
TO CONCLUDE WITH, THE SPIRIT OF THE RHINE. By the kind permission of Colonel Wodehouse
the Band of the 50th Regiment will attend the Theatre and play during the evening several admired Pieces of Music . . .

Mrs. Clarke, the only professional vocalist attached to the Sydney Stage, takes her Benefit on Monday next, at the Victoria . . .
The pieces chosen are the musical burletta, in two acts, of Midas, Apollo by Mrs. Clarke; this will be followed by a Musical Melange,
in which a Concerto on the Clarionet will be played, by Mr. Leggett, whose performance on that instrument are not to be
equalled by any other professional gentleman in Sydney . . .

A special petty sessions of Justices for the transfer of publicans' licenses for the town and district of Sydney,
was held yesterday, by adjournment from the previous Wednesday, at the Police Office.
Present Colonel Wilson, F.P.M.; Charles Windeyer, Esq., 2nd P.M.; Colonel Shadforth, J.P.; and H. H. Brown, Esq. J.P.,
when the following applications for transfers were granted upon the usual certificates, &c.:- . . .
the Hope and Anchor, corner of Druitt and Sussex streets, from John Icke Kettle to Thomas Leggatt; . . .

Lease for five yeaers from the date thereof /
John Icke Kettle, Sydney, Wine Merchant of the one part
and Thomas Leggatt of Sydney, Merchant, of the other part

All that messuage & tenement of him the said John Icke Kettle
at present known as the sign of the Hope and Anchor situate at the corner of
Druit and Sussex Street in the town of Sydney aforesaid are now in the
occupation of Thomas Leggatt / at yearly rent of six hundred and ninety five pounds . . .

. . .[registered] this thirteenth day of September A.D. 1839 . . .

ASSOCIATIONS:
John Kettle, later a well-known magistrate, died in 1881;
he had only held the license for a matter of months, succeeding Henry Doran; the famous Sydney flying pieman,
William Francis King (1807-1873) had reportedly been a
barman for Doran at the Hope and Anchor, and may have continued under Leggatt,
before starting on his peripatetic career c.1842

The lovers of music, we hope, will not fail to patronise Peck's Grand Concert, tomorrow evening.
We are sure it will be the best musical festival ever given in this Colony.
Certainly Mr P. has been very fortunate in securing the talent of so many of our professionals on the same evening.
We are to have Gautrot, on the violin; Wallace, on the flute; Legget [sic], on the clarionet and other instruments;
Miss Fernandez, on the piano; Mrs Curtis, on the harp, and Dr. Reid to conduct the chorus department.
The musical department is equally effective - among them may be numbered Madame Gautrot, Medames Bushelle and Clarke - Bushelle - and a good round number of choristers.

Amongst the passing events of the day, Concerts now form a prominent feature,
and we could wish that they might long continue to do so if well conducted
and got up with a view towards the advancement of the science.
Music, although not a recognised agent in political economy,
has always exerted a powerful influence over the progressive civilization of a people,
and it is therefore of paramount consequence that in a young country
the taste of the inhabitants receive a good direction in the beginning.
We are sorry to say that the tendency of some of the late concerts has not been favourable
to the cultivation of a sound musical taste.
To begin our criticism with the overture -
Mr. Peck has proved himself a musician of decided talent,
and still he selects two such overtures as the "Two Blind Men," and the "Maniac,"
the first (at least as performed at this concert) being a very poor oboe solo,
with as poor orchestral accompaniments; the second, one of Bishop's most miserable compilations
Surely, with the wide range of modern concerted music,
two more unmeaning pieces could not have been selected to bring out the power of so numerous an orchestra.
We beg leave to remind the leader or leaders, that any orchestra ought to move as one mass of sound,
and not drag its unwieldy, disjointed limbs in such a straddling manner as was the case on this occasion.

Of the individual performances, we have the less to say,
as our leading singers seem determined to stick fast to what they consider "decided hits ;"
we have no fewer than five several pieces repeated,
some of them under different names - (a childish subterfuge which ought not to be tolerated)
we have the eternal "Market Chorus," and again the little less known "Tramp" chorus;
and again, "Let the Trumpet sound," - (by the bye, at the next concert,
we should recommend the trumpet to sound a little less out of tune) . . .

Mr. Peck had the good fortune to see "a good house" on Wednesday evening,
which, considering the numerous demands lately made on the public for their time and money on behalf of musical recreation,
was almost more than we expected. The songs and pieces which gave most satisfaction at this Concert, were,
the two Overtures, Suoni la Tromba by Mr. and Mrs. Bushelle, Mary of Castle Carey by Mrs. Bushelle,
Miei Rompoli by Mr. Bushelle, and Imitations of Paganini by Mr. Peck.
The Overtures were full of music, and generally well played. Now and then there was a jar . . .
Suoni la Tromba was greatly damaged by a rascally horn,
which the player had the ill taste to blow while Mrs. Bushelle was singing.
The idea of allowing a coarse horn, not merely to accompany
the tones of this lady's mellifluous voices but to play the same notes at the very same moment,
(the horn too being played out of tune) was downright murder.
Mrs. Bushelle's part in this song, is full of thrilling heart-stirring melody,
and which this villainous horn did all it could to drown and spoil . . .

The programme of this concert led us to expect a rich and varied evening's entertainment, and the
performance fully justified our anticipations; Mr. Peck is entitled to the highest praise as well for the selection
of the pieces, as in having secured the assistance of nearly all the musical talent of the colony. Monsieur
Gautrot is a truly elegant violinist, and performed the business of leader to perfection. And when we add
the names of Mr. Leggatt, Mr. S. W. Wallace, Mr. Peck, Mr. Curtis, and Mr. Deane, we need scarcely add that
the instrumental portion of the performance was executed in superior style; the only drawback (and truth
compels us to say it was a drawback ) upon the efficiency of the orchestra, was the inattentive playing (to use
the mildest term) of some of the members of the military band.

The duet "Suoni la Tromba" (Bellini), by Mr. and Mrs. Bushelle, was delightful,
and the obligato accompaniment was performed by Mr. Leggatt, most tastefully . . .

This Concert was rather thinly attended on Wednesday evening, at which we were much disappointed,
considering the pains that had been taken to select good music.
The performances were, notwithstanding this discouragement, very creditable, at least to the vocal performers.
The instruments being entirely left to themselves, went every one his own way in glorious confusion . . .
We should have had something to say in favour of Mr. Leggatt's "Exile of Erin,"
if he had not put us out of all patience previously to his performing it,
by his conceited capers on the platform playing voluntaries, interludes and symphonies, and God knows what . . .
On the whole, this Concert ought to have attracted much more notice; and we shall be glad to see M. Gautrot's
next effort crowned with better success.

Mrs. Clancy's concert was very flatteringly attended on Tuesday, and presented
on the whole a very pleasant evening's entertainment. There was nothing perhaps
very brilliant, but there is more gratification in a quiet, unobtrusive exhibition, than one with
higher pretensions which may not effect what it promises. The overtures (with Mr Wallace as leader) were well
played, infinitely better than we have ever heard them here by a military band, if we except that of the 17th. Regt . . .

MRS. CLANCY'S CONCERT on Tuesday was well attended, and, upon the whole, went off in
a very satisfactory manner. The Overtures to Preciosa and the Italiani were well played by the Cecilians, and Mrs. Clancy's own songs were sung with
her usual pleasing delicacy . . .

The monthly meeting of the members and friends of the Cecilian society met at the Old Court house on Wednesday evening last;
and the latter particularly were highly delighted with the evening's entertainment.
This society seems to be taking deep root in the musical hearts of the Sydney folk, and eventually we expect to see it equal to any harmonious society in the world.
Already can the society boast of a powerful and talented orchestra, under the direction of Mr. Leggitt [sic] as conductor, and Mr. W. Wallace as leader;
and already does it count amongst its patrons and supporters, the most influential members of our community.

Mrs. Bushelle's concert will take place at the Theatre on Tuesday night next.
This concert is given under the patronage of Lady Gipps, and several others of the beau monde,
and we have no doubt the theatre will present a splendid appearance on the night of the concert.
It has been put off and delayed for some time in consequence of the illness of Mr. Gautrot, and
we are sorry to say that he is unlikely to be able to play on Tuesday night. The Deanes
and Wallaces, Mr. Leggatt, and Mr. Worgan, are on the list of performers, as well as Mr. and
Mrs. Bushelle, and several other amateurs have offered their services. Altogether a treat may
be anticipated. Most of the pieces selected are Italian, but those who want to hear "the Groves
of Blarney," may do so and one or two English songs.

Mrs. Bushelle's Concert came off on Tuesday evening at the Victoria Theatre,
before a very numerous and distinguished audience . . . The orchestral accompaniments might certainly have been much better.
With such a dearth of amusement as we have in New South Wales, Tuesday evening's concert was an exceedingly welcome event.

Mr. Deane's concert in the Victoria Theatre on Wednesday, went off remarkably well. The house, notwithstanding the weather,
and the state of the streets, was very nearly full. We have not space to enter into a lengthened detail of the performance,
but will merely observe . . . that the overtures were well played, the oboe of Mr. Legatt being remarkably fine.
The Governor and family and a very respectable audience were in the boxes.

This concert was held on Wednesday evening in Castlereagh-street,
and was well attended. The Overtures continue to be well selected, and well executed, and to
give great satisfaction to the subscribers. It might perhaps be invidious to point out particular instruments so excelling,
but Mr Legatt's Oboe had a delightful effect in the second part of the first Overture, "The Serpriss" [? "Surprise"].
This society, by continual practice, will gradually excell all temporary Concerts . . .

We have returned from this concert much gratified, both at the performance generally and at the very numerous attendance,
which speaks highly for the progress of musical taste in Sydney. The orchestra consisted in a great measure of the fine
band of the 28th regiment, which, but for some deficiency in the orchestral arrangements, would have formed a very important feature of the evening's
entertainments. The wretched overture to "La Vestale" was badly chosen, but the overture to the "Gazza Ladra" was exceedingly well performed . . .

. . . The overture to Spontini's "La Vestale" was
given by the full orchestre, including part of the band ol the 28th regiment. The piece itself
was rather monotonous, exhibiting a meagreness of imagination in the composer, and it was
probably a poverty of fancy which caused him to repeat the same idea, (and that by no
means a bright one) till both the performers and the audience were tired of its cuckoo-like
twing-twang. The performance was good - too good for the music - though, from want of
thorough rehearsal, perhaps, we observed the performers in several instances to be out of
time so as to give pain to their leader . . .

The fine Cavatina in the opera of Romeo and Giulietta, founded on Shakspeare's drama, with full orchestral accompaniments,
was sung in an excellent and spirited style by Mrs. Bushelle . . .

The SECOND PART of the Concert was begun with Rossini's overture to the "Gazza Ladra," and,
after Spontini's barren "La Vestale," it was really refreshing to meet with il Maestro;
for with all his occasional affectations of finery and brilliancy, and something sadly like clap-trap contrasts,
Rossini is unquestionably a highly imaginative and beautiful composer. The execution, too, was much belter than in the first
overture, the performers evidently catching some of the great master's inspiration to lead them on in the concord of sweet sounds . . .

In consequence of a requisition from the leading members of this Institution a Public Meeting
was held on Friday in the Society's Temporary Concert Rooms,
when after the subjoined report had been read the following resolutions
were moved, seconded, and adopted by the meeting -

1. That the report of the Committee now read be adopted and received by the meeting.

2. That as the expenses at present incurred in carrying on the operations of this Society
considerably exceed its income, some other arrangement with regard to performing members is
imperatively called for. The Committee therefore earnestly and respectfully urge all
those persons possessed of musical talents and who are anxious for the promotion of so
delightful a science, to come forward and support this society with their abilities
at a time when it so much requires their aid.

3. That as the operations of this Society are much impeded by the irregular attendance of
the Members of the Committee that it shall be a standing rule of this Society that any Member
of the Committee absenting himself for three nights consecutively shall be ineligible for re-election.

4. That the thanks of this Meeting be presented to the Right Reverend Dr. Polding, through
the Rev. Francis Murphy, for his kindness in allowing the use of the Catholic School Room to
the Society and for his uniform kindness in furthering the interests of the Society
upon every occasion which presented itself.

5. That the thanks of this Meeting be given to the Gentlemen and Officers of the Committee
for their very efficient services since the last meeting and that the following gentlemen be
requested to act for the ensuing year, viz:- Mr. W. E. Rogers, Treasurer;
Mr. Joseph Levien, Secretary; Committee - Messrs Bradridge, Thomson, LeBritton, Barnett, James Johnson,
Leggatt, Greville, Challis, Tomlins, and R. Johnson . . .

The following is the report presented by the Committee: -

Since the last general meeting of the society, the committee have had difficulties to contend with,
some of which have caused serious anxiety for the welfare of the Institution, and had not good fortune
rather than skill which they have been able to exert warded off their immediate effects,
the consequence must have been irremediable . . .

Impressed with the proper sense of the present affairs of the society,
the committee at a meeting held on the 15th January last, after stating their
various peculiar embarrassments respecting the funds,
and unless some change in the pecuniary affairs of the society could be devised
its operations must inevitably be suspended for a certain period, requested Mr. Leggatt and Mr. Wallace
(our conductor and leader) to render such gratuitous assistance as would help to
relieve it from its present difficulties. Every request to these gentlemen made by the committee,
was refused, and in consequence the committee deemed it expedient to call a general meeting . . .

The committee foreseeing the impossibility of carrying out its operations under the present plan,
have endeavoured to form an orchestra composed nearly entirely of amateurs who of course will
require a paid person to instruct and teach them. The competency of any person to fill
such a situation must be for the committee or general meeting to decide upon: it is thought, however,
that this plan if approved of, will be far less expensive, and more in unison with the character of
the Institution . . .

It is contemplated by several professional members of our musical corps to give monthly concerts.
Three times in the course of the month rehearsals will take place at the Old Court House.
It is more over proposed, to pay the professionals at a certain rate, and to admit all amateurs freely.
These latter will have the advantage of practising with the qualified vocalists, and enjoying the help of orchestral accompaniments.
Mr. and Mrs. Bushelle, Messrs Wallace and Leggatt will take an active part in this projected arrangement.
The place at which the concert will be given is not yet determined, but will be selected after due enquiry.
We shall be very glad to hear of the success of the project, as it must tend to gratify and improve the musical taste of Sydney.

MUSIC - A project is on foot to establish periodical concerts by subscription,
and we are happy to say that many most respectable names are amongst the subscribers.
It is proposed that, from the subscriptions a sufficient, though not extravagant remuneration shall be made to the professionals
who may lend their services at these concerts. Mr. and Mrs. Bushelle and their pupils, Mr. Wallace, Mr. Leggatt and others will be amongst
the performers, and if the public come forward as they ought on this occasion, they will get a rich treat at very little expense.
Subscription periodical concerts have long been a desideratum. Sydney can well afford to support them, and professional musicians by
lending their assistance at as moderate a rate as possible, will encourage a love for music and musical entertainments,
which must in the end redound to their own to their own great profit.

CECILIAN SOCIETY - A meeting of the members of this Society took place on
Friday last, in the Society's Concert Room. It appears that the Society has been labouring under some difficulties in consequence
of the expenses entailed upon it by the charges of professional musicians for their assistance at the monthly concerts,
and the Committee deemed it advisable that such assistance should no longer be engaged, unless given gratuitously.
Various resolutions were passed, and the report of the Committee adopted. Officers for the ensuing year were nominated.
We are of opinion, that professionals would be consulting their own interests if they were to come forward to aid this Society.
The soirees would engender a love of music by which they, and not the amateurs of the Society would profit,
and therefore, with out making any personal allusions, we hope we shall not in future hear of any of the
charges which have embarrassed the Society's funds. - Correspondent.

. . . The concert in most respects, went off with eclàt. The overtures were played with taste and correctness,
with the exception of the flutes, which were sadly out of tune . . . Auld Robin Gray was most feelingly sung by Mrs. Bushelle;
but we could not help regretting that, in her evidently ill-state of health, so long and exhausting a song should have been allotted to her . . .

ON Wednesday a large assemblage of the élite of Sydney attended the Theatre
to hail our newly arrived musician, Mrs. J. S. Prout, who was warmly received and enthusiastically
applauded, as she well deserved to be . . . In the overtures [Mr. S. W. Wallace] seemed afraid of overpowering the
weak and powerless orchestra, which is called "Full" in the Programme; but we have seldom heard any attempt
so feeble and deficient in spirit as the Don Giovanni. Had Mozart been present, he could not, assuredly have recognised
his own music. Herold's Ludovic was rather better; but, still feebleness was its decided characteristic . . .

The Oratorio, on Wednesday night, went off in a style which has been seldom equalled in this Colony . . .
The audience was numerous, (about 800) and throughout the performance there was evinced all the decorous propriety
which the solemn and sacred character of the music demanded . . . Mrs. Bushelle sang Guglielmi's "Gratias Agimus,"
but it did not impress us that she was at home. In this Mr. Leggatt's obligato accompaniment was excellent . . .

"The Oratorio", The Sydney Monitor and Commercial Advertiser (2 July 1841), 2

. . . Guglielmi's "Gratias agimus" is a mere singing lesson tastelessly set to inappropriate words,
and alike unworthy of the composer and the singer. It was, however, made the most of by Mrs. Bushelle,
and the accompaniment by Mr. Leggatt was admirable . . .

. . . Having studied music for twenty years, and heard nearly all the musical "stars" the age has produced,
we may be permitted to express our opinion, and we say the oratorio was eminently successful.
We, therefore, give our thanks to Mr. Nathan; to Messrs. Leggatt and and Wallace, who so ably co-operated with him;
to the Misses Nathan and Mr. and Mrs. Bushelle, who sang so sweetly; and to all the other performers; for so excellent an entertainment . . .

Mr. Deane's Concert, on Wednesday Evening, attracted a numerous and highly respectable audience . . .
The performances of the evening began with the overture to Otello and the style in which that delightful composition and "La dame Blanche,"
were executed reflects much credit on the talented leader Mr. W. Wallace, and on Mr. Leggett who performed with great skill and precision . . .

On Wednesday evening last, we again had the pleasure of hearing those deservedly great favourites of the
Australian public, Mr. and Mrs. Bushelle, at the Concert given by them in the Theatre,
which was attended by His Excellency and Lady Gipps, and by a crowded and fashionable
audience, and all appeared highly delighted with the entertainment provided for them . . .
The orchestral department was admirably conducted by Mr. Leggatt, and led by Mr. S. W. Wallace.
It must have been a source of great pleasure to Mr. Bushelle to have drawn together so numerous and respectable an audience . . .

UNDER DISTINGUISHED PATRONAGE. GRAND CONCERT,
AT THE ROYAL VICTORIA THEATRE, TO-MORROW, 23rd February, 1812,
which day is also that fixed for THE FLORAL AND HORTICULTURAL EXHIBITION.
MRS. BUSHELLLE, AT the desire of several families of distinction, who were unable to attend her last Concert,
respectfully announces to the inhabitants of Sydney, who so favourably noticed, on former occasions,
her exertions to merit their patronage, that she is induced to appear once more before them.
Confidently anticipating their liberal support, she solicits their attendance on this occasion,
when she will be assisted by Mrs. S. W. Wallace, Mr. Bushelle, and Amateurs, in the vocal department;
and by Mrs. J. S. Prout, pianiste, Mr. S. W. Wallace, leader, Mr. Leggatt, conductor of the concert,
Mr. Deane, Mr. Wallace, senior, Mr. Sippe, Mr. Edward Deane, Mr. Walton, Mr. Portbury, Mr. Pappin,
and the rest of the Theatrical Orchestra, as instrumental performers.
PROGRAMME.
Part I.
Overture -
1. - Duet from Demetrio, with orchestral accompaniments - Mr. & Mrs. Bushelle
2. - The favorite Duet, "Near to the willow," (Blangini) - Mrs. Wallace and Mrs. Bushelle
3. - Popular Song, "Some love to roam," (Russell), with full orchestral accompaniments - Mr. Bushelle
4. - The much admired Song, "Languir per una Bella," from L'ltaliana in Algieri with Flute Obligato by Mr. S. W. Wallace - Mrs. Bushelle
5. - Cavatina, "I'll seek her on every shore." (Rodwell) with orchestral accompaniment - Mrs. Wallace
6. - "La Vendetta," from Mozart's Figaro - Mr. Bushelle
7. - Concerto - Violin - Mr. Wallace
8. - Song, "When we two parted," (Nathan) - Mrs. Bushelle
9. - The celebrated Comic Duet, from, Il Turco in Italia,
received at Mr. Deane's last concert with immense applause - Mr. & Mrs. Bushelle
Part II.
Overture - Full Band.
1. - Concerto - Clarionet - Mr. Leggatt
2. - "The Groves of Blarney" with orchestral accompaniments, with the original Ullagoane,
and the new version - Mr. Bushelle
3. - The "Grand Quarreling Trio," (by Cimarosa) - Mrs. Wallace, Mrs. Bushelle, Mr. Bushelle
4. - The "Widow Malone," 'from the late popular novel Charles O'Malley, the Irish Dragoon,
with a characteristic Irish accompaniment by Mr. Leggatt - Mr. Bushelle
5. - "The last sweet chime" (Cianchettini) - Mrs. S. W. Wallace
6. - Solo - Flute - Mr. S. W. Wallace
7. - "Jephtha's Daughter!" at the earnest solicitation of the Amateurs,
and positively the last time in public (Nathan) - Mrs. Bushelle
8. - "Sweet Molly Carew" (Lover) - Mr. Bushelle
GOD SAVE THE QUEEN
The Stage will be brought forward twelve feet, to render the Music more effective.
The Pit will be elegantly fitted up, and communicate with the Boxes.
Tickets may be obtained from Mrs. Bushelle, Elizabeth-street,
two doors south of Bathurst street, where Private Boxes can be secured.
Tickets also may be had from Mr. Ellard, Mr. Aldis, and Mr. John Sparke, George-street;
Mr. Wright, Victoria Hotel; Mr. Baker, Stationer, King-street.
Pit and Boxes, - Seven and Sixpence, Upper Boxes, - Five Shillings.
Gallery, - Two Shillings and Sixpence.
The Doors will be opened at Half-past Seven and the Concert will begin at Eight o'clock.

It will be seen from our advertising columns, that Mrs. Prout's annual concert, which was postponed
for the arrival and assistance of her brother, Mr. Marsh, is fixed to take place to-morrow evening, in the Victoria Theatre.
The bill of fare which Mrs. Prout has provided for the occasion is attractive, and will be relished, we doubt, not,
by every musical epicure amongst tis. In the instrumental department, Mrs. Prout on the piano; her brother, Mr. Marsh, who is equally at home,
we understand, with the piano and the harp; and Mr. Wallace, Mr. Deane, and Mr. Leggatt, whose several talents
are sufficiently known and appreciated by the public of Sydney.

GRAND SOIREE MUSICALE. MRS. PROUT has the honour to announce,
that her ANNUAL CONCERT will take place THIS EVENING, March 9, 1842, at the Royal Victoria Theatre,
on which occasion MR. MARSH, from the Hanover Square and Nobility's Concerts, London and Bath,
will perform, for the first time in this colony, on a new Erard's Patent Grand Pianoforte,
of the same manufacture as those played on by Thalberg, Liszt, Herz, &c.,
his " Grandes Variations Brillantes," composed and dedicated to him by Czerny,
and one of his own favourite compositions on the harp.
Mrs. Prout will play a brilliant fantasia on the pianoforte, likewise a grand duet
of Bochsa's on "Rule Britannia," for pianoforte and harp, with Mr. Marsh,
and in a quartette for the harp, pianoforte, flute, and violoncello,
with Mr. Wallace, Mr. Deane, and. Mr. Marsh.
Mr. and Mrs. Bushelle will sing some new and popular English songs,
in addition to the celebrated Aria from "Il Puritani," "Vien diletto,"
Bellini's much admired scena, "Ah per Sempre," and in two new concerted pieces with Mrs. Wallace.
Mr. Wallace will perform a duet concertante, for flute and harp, with Mr. Marsh.
Leader, Mr. Wallace; Conductor, Mr. Leggatt.
PROGRAMME.
PART I.
1. Trio, "The Harem Bells," first time, Mrs. Bushelle, Mrs. Wallace, and Mr. Bushelle - Hodson.
2. The celebrated Aria from II Puritani, "Vien diletto," first time, Mrs. Bushelle - Bellini.
3. Fantasia, harp, Mr. Marsh - Marsh.
4. Moore's song of "The Prairies," Mrs. Wallace - Balfe.
5. Grand Fantasie, pianoforte, from Le Pré aux Clerc, Mrs. J. S. Prout - Herz.
6. New ballad, "The Parting Hour," the music composed on board the "Sir Edward Paget,"
by Mr. Marsh, on the voyage to Sydney; the poetry by Captain A. Tait - Marsh.
7. Grand Scena, "Ah per Sempre," first time, Mr. Busheile - Bellini.
8. Quartette from La donna dell Lago, for harp, pianoforte, flute, and violoncello,
Mr. Marsh, Mrs. Prout, Mr. Wallace, and Mr. Deane - Bochsa.
PART II.
1. Grandes Variations Brillantes, pianoforte, Mr. Marsh, dedicated to him by Czerny.
2. Quartetto, "The Voyager's Evening Song," Mrs. Bushelle, Mrs. Wallace, Mrs. Daniels,
and Mr. Bushelle; the words by Captain Tait, and the music composed on the voyage by Mr. Marsh - Marsh.
3. Duetto, "Mio figlio non sei," Mr. and Mrs. Bushelle - Rossini.
4. Duo Concertante, harp and flute, "Italy and Ireland," Mr. Marsh and Mr. Wallace - Bochsa.
6. Song, "Proudly and wide," from Fra Diavolo, Mr. Bushelle - Auber.
6. Song, "Wanted a Governess," Mr. Marsh - J. Parry.
7. Finale, grand duet, harp and pianoforte, on "Rule Britannia," Mrs. Prout and Mr. Marsh - Bochsa.
The Concert to commence at Eight o'clock.
Tickets may be had at Mr. Ellard's Music Saloon, George-street; Mr. Moffitt's, stationer, Pitt-street;
Mr. Aldis', George-street; or of Mrs. Prout, at Mr. Marsh's, Bligh-street, where a plan of the boxes may be seen.
Dress circle and pit (which will be elegantly fitted up for the occasion,) 7s. 6d.; upper boxes, 5s.; gallery, 2s. 6d.

On Tuesday last the first cattle fair held in New South Wales took place at Smithfield
under the auspices of John Ryan Brenan, Esq. . . . The attendance was not so numerous as we had anticipated,
there being little more than five hundred persons on the ground, but these were persons of respectability,
and not composed of the canaille, which usually frequent similar places in the mother county.
Several of our most influential citizens were also present. Mr. Brenan provided an ample feast for the occasion.
An ox and sheep were roasted, and we observed that the porter and liqueurs were done ample justice to . . .
" . . . Several booths and tents were erected, and after the public breakfast they had their share of custom.
The Sydney band attended, led by Mr. Leggatt, and contributed much to the gaiety of the day, -
on the whole, every thing was conducted quite in the English style, and the fair went off as well as could be expected.
We congratulate the public that we have at length a fair established,
which cannot fail of producing the most beneficial results to the community at large."

For the greater part of the past week, the Magistrates were employed at the Police in
looking over the applications (of most of our Sydney licensed victuallers) for permission to keep their houses open after the regulated hour,
9 o'clock. Although several houses have been allowed to be kept open until 12 o'clock; it is understood that in future, the Magistrates do
not intend to grant permission next year, longer than 10 o'clock, excepting only a very select
number, for the convenience of travellers, when a later hour will be allowed. It is also rumoured, that the Police have received
instructions to watch closely and vigilantly those houses that allow tippling on the Sabbath day,
and after hours, to the great evil of society such scenes being contrary to all good order,
and an encouragement to vice. Underneath is given a list of applications received,
and the hours for which licenses have been granted to the parties applying; those marked M. L. are
called market licenses, and are allowed to keep open until 11 o'clock on market days only;
they will be allowed to open their houses on those mornings, one hour earlier, but they must
close them at 10 o'clock on other nights. T.L. means theatre licences, it being understood that
when the Theatre is closed, they must shut up at 10 o'clock, but when the Theatre is open,
an extension of the license until 12 o'clock has been sanctioned. A list of those who have
obtained Billiard Table licenses, is also added: . . .

We had the pleasure yesterday of hearing the first general rehearsal
for the forthcoming oratorio, and were rather agreeably surprised by the strength and efficiency of the
chorus mustered by these amateurs. There is yet a deficiency of strings in the instrumental department,
which is rendered more apparent by a certain coarseness in one or two of the brass instruments, but this
Mr. Leggatt is using every exertion to correct. A few of Handel's thundering choruses will be a
decided treat compared with the trashy solos which until the recent introduction of madrigals, crowded
and disfigured all our programmes; and it shall not be our fault if standard music of this description do
not speedily banish from our musical world the fashionable trumpery which furnishes food for pride
and individual pretension, and tingles in the ear, but speaks not to the heart, of the listener.

We had the pleasure of being present at the first rehearsal for the forthcoming oratorio,
at the old school-room in Elizabeth-street, on Friday evening,
and were agreeably surprised at the numerical strength of the orchestra.
The powerful effect with which Handel's sublime compositions were given,
reflects much credit on Mr. Leggett, under whose direction the rehearsal takes place,
and the other professionals who are assisting him in getting up the oratorio.

ROYAL VICTORIA THEATRE. GREAT NOVELTY! FOR THE BENEFIT OF Mrs. KNOWLES.
MRS. KNOWLES begs most respectfully informs her numerous Friends and Patrons that her BENEFIT is fixed for
THURSDAY EVENING, AUGUST 4th . . . Immediately after the conclusion of the drama, the curtain will rise for
"Poor Paul Pry," (popular comic song) in character by Miss Jones. A favourite Pas Seul, by Miss E. Jones.
Mr. Simmons will have the honour to give the Comical History of "The Old Woman and her Cats."
The celebrated Song "The Death of Nelson," by Mrs. Knowles, arranged for a full Orchestra, by Mr. Leggatt,
expressly for this occasion. Irish Jig, Mr. Chambers . . .

Another rehearsal of the principal chorusses of this chef d'oeuvre
took place last evening, under the direction of Messrs. Johnson, Leggatt, and Wallace.
The greater part of the wind instruments were absent, so that we are unable to say what progress Mr. Legatt has
made in reducing them to suavity, tune, and time, but the stringed instruments were all that could be
reasonably wished for, and the chorusses, considering the materials of which in a great measure they seem
to be composed, certainly gave us equal surprise and delight. Mr. Johnson has in this instance
accomplished a feat, and we willingly accord him our meed of praise.
We were much satisfied with Mr. Leggatt's conducting generally speaking, but we must say we were terribly annoyed with the timeing
of the "Hallelujah chorus," which (at least the first time) was sung absurdly slow as it almost always
is by amateurs, but by which the sublime idea of the composer is utterly destroyed.
We hope Mr. Leggatt will attend to this, and upon the whole we promise our numerous musical friends a magnificent
treat on the last day of this month, without any fear of disappointment.

The forthcoming Oratorio is expected to come off with great eclat next week,
the amateurs having done what amateurs seldom will do, attended the rehearsals and been well drilled,
and as there are amongst them many persons of considerable musical talent,
and the professional men, particularly Messrs. Johnson and Leggatt,
have bestowed a great deal of time and attention on the arrangements,
the result we have little doubt will be the performance of that splendid Oratorio, the Messiah, in a very creditable manner.

IT IS with no small amount of pleasure that we notice the performance of Handel's
sublime Oratorio of the Messiah, which took place at the Victoria Theatre, on Wednesday evening . . .
The Hallelujah chorus was too fast: we know that this is a disputed point,
but we take as our standard the performances at Exeter Hall, and the Festivals
in England . . . It passed off very well, however, and concluded a performance
from which we derived much pleasure, and augur a great deal to come.
We shill be delighted to hear the Oratorio repeated complete, as, in this performance,
several of our favourite choruses and solos were left out.
We cannot conclude without expressing our satisfaction at the able manner
in which Mr. Leggatt conducted, and Mr. Wallace led, the orchestra during the performance.

The oratorio in aid of the funds of the Benevolent Society came off, as announced,
on Wednesday night; and to say that we were pleased, would but faintly convey our feelings on the subject;
we were delighted and astonished. We confess that we previously felt some misgivings that a composition,
so difficult as the Messiah, and one requiring such effective management,
both in regard to the number and ability of the performers, would prove too great an attempt
for the musical powers of our community. We are happy to say that our fears proved to be wholly without foundation,
and we express not only our own sentiments, but those of every person with whom we have conversed on the
subject, when we say, that the performance as a whole was such as to raise, in a very high degree,
the character of our city, with respect to its musical powers.
The number of complicated and difficult chorusses which were introduced,
and the extremely effective manner in which they were performed, reflect the very highest
degree of credit upon all parties concerned . . .

We must not omit to mention the skilful manner in which Mr. Leggatt sustained the
office of conductor; his great abilities, both as a practical and theoretic musician,
were never more conspicuously or more effectively employed . . .

At last the immortal "Messiah" has been performed in Sydney.
We are so rejoiced at this revival of our finest recollections of "harmony divine,"
that we are much inclined to forget our duty of critic and praise every thing in the performance.
Glad we are to say, there was much to praise. Of the recitatives and arias, it is true, we can say but little,
with the exception of "How beautiful are the feet," by Mr. Allen, and another by an amateur,
both of which displayed taste and feeling.
We could have said the same of "I know that my Redeemer liveth," by Mrs. Curtis, which was not devoid of proper feeling, but that,
despite her most visible efforts, it was beyond her powers of execution.
Neither of the Bushelles were in voice; Griffiths was drowned by the accompaniment, and Mrs. Wallace, feeling herself at home,
said "He shall" and not "HE shall feed his flock, &c."
Of the chorusses, which after all are every thing in this work, we can speak in terms of general commendation.
A few of them were truly admirable, such as that very difficult one, "Great was the company of the preachers," the "Hallelujah,"
&c., and, the only one that could be said to be murdered was "Glory to God."
There were also some strange mis-pronunciations, such as "giv-en" for giv'n.
These we mention for correction next time, but we are bound to repeat that the chorusses were far beyond any expectation
that could reasonably have been formed of them.
Of the orchestra we can truly say the same. The overtures, excepting the opening movement in Handel's,
were perfect, and the pastoral symphony was exquisite. The accompaniments with perhaps one
exception, were likewise equal and good.

By the way we were sadly puzzled about the second overture . . . [text as below]

The attendance was very numerous and respectable, and although the expenses must be very heavy,
we hope there will be a considerable balance for the benevolent asylum, for the benefit of which the oratorio was got up.
We understand that the same body of musicians and amateurs intend shortly to get up "Haydn's Creation."
Such exertions combined with such taste in selection deserve the support of every lover of music,
and they shall have all that we can give them both publicly and in private.

SIR, - My attention has been called to an article in the AUSTRALASIAN CHRONICLE of
this morning, purporting to he a critique upon the Oratorio performed at the Victoria Theatre last night,
and in which the following passage occurs:

By the way we are sadly puzzled about the second overture, said in the Libretto to be "from Mozart's Requiem."
We never heard of more than two Requiems by Mozart, neither of which has an Instrumental overture.
The mystery vanished when we heard the tones of the Magic Flute.
Now this kind of trick should not be practised upon the citizens, for by and bye,
when they come to be better acquainted with these undying works,
they will be tempted to hiss even the inspiration of Mozart himself, when palmed upon them thus.
What would they say, for example, in London or Vienna to an announcement of "The overture from Mozart's Requiem?" Fie!

Now, Sir, to demonstrate that the Editor in this as in his other efforts pseudo criticism,
has furnished a palpable illustration of the line in Pope: "And fools rush in where angels fear to tread.”
I oppose direct matter of fact to what I will venture to call his presumptuous assertion,
I say emphatically presumptuous, because any person possessing gentlemanly feeling, be he Editor of a newspaper,
or whom he may, before charging a respectable body of men, or an individual, with imposition on the public,
as the observations in the CHRONICLE clearly imply, should at least be satisfied, that his allegation was well founded.
In what position then do I place the writer in that journal, either as a musical critic, or a lover of truth,
when, in contradiction to his mere assertion, I can prove by the work itself, that Mozart did write
"an instrumental Overture" to his Requiem; and in evidence of the fact, I have left a copy of the composition,
to be seen by the curious in such matters during a fortnight from this date, at the office of the AUSTRALIAN, Bridge-street.

Under such circumstances, therefore, I trust I shall have saved the critic of the
CHRONICLE a voyage to London or Vienna, in search of public opinion on "an announcement of the Overture from Mozart's Requiem;"
and I leave the public to judge to whom the term "Fie" now more properly applies.

I presume that the writer in question intends to compliment the gentlemen who undertook
the flute part in the Oratorio, when he states "the mystery vanished when we heard the tone of the magic flute;"
for if in his erratic imagination he means it to be believed that the Overture of the Requiem was substituted
by that of the Zauberfloto, I have only to offer the same unequivocal denial that I have already
employed in refuting his other assertion.

We observe in the Herald and Australian of yesterday,
a letter signed "Thomas Leggatt," in which that important personage returns our constant and
merited praise of his abilities as a conductor, by calling us a "fool," a "pseudo critic,"
a person divested of "gentlemanly feeling," and we know not how many more pretty things,
because in noticing the performances at the late oratorio, we denounced the trick
practised upon the audience in producing an overture from a profane opera, and
calling it the "Overture to Mozart's Requiem." We are afraid that, instead of mending the matter,
Mr. Leggatt has made it worse by attempting after its detection to perpetuate the imposition.
That which might have been tolerably, if not satisfactorily,
explained by a "Deuce take the bungling printer of my Don Giovanni for having led me into such a
scrape!" can now only be regarded as an impudent trick, and the whole merit of that trick, which might
have been shared, without much damage, among an hundred fiddlers, now rests firmly on the brow of
"Thomas Leggatt" . . .

The "position" in which Mr. Leggatt "places us" is one by which we are unwillingly compelled
to show the public how he has for ever destroyed his reputation of a learned musician,
and, what ought to be of more importance, how he has been guilty of
bad faith with the public, first in deliberately imposing upon them an overture under a false name,
and secondly in supporting one deception by another.

We take it as an axiom which no competent person will controvert,
that no musician of this age can be said to be perfect in his art who has not studied the
grand Requiem of Mozart. It is the true musician's idol, and is perhaps the greatest achievement that
the human mind has ever accomplished. Now Mr. Leggatt either is, or is not,
familiar with this sublime composition. If he is familiar with it he knows
(what every musician of any pretension knows) that it begins with a choral fugue in D minor,
with the words "Requiem aeternam dons eis Domine," and not with an "overture";
and if Mr. Leggatt is not familiar with it, what becomes of his pretensions as a musician?
and by what right does he presume to tax us (who have given days and nights to the study
of the Requiem) with "presumption," when we assert that the Requiem has no instrumental overture?
In the face of Mr. Leggatt's assertion to the contrary, we again assert that Mozart never did
write an instrumental overture to the Requiem; that consequently the piece left at the
Australian office is only another edition of the same imposition which was practised at the oratorio;
and we are ready to prove both these assertions by the production of two separate editions of the Requiem,
together with the whole of Mozart's overtures,
among which it will be easy for any person to discover the one abused by Mr. Leggatt,
prefixed to the well known Don Giovanni, whose "requiem" is sometimes given on
the London stage (though another imposition upon the composer) by a chorus of devils.
What would be thought of a poet who finding upon a bookstall a copy of Byron's "Don Juan,"
having prefixed to it by mistake or design the title-page of the sacred rhymes of Brady and Tate,
should proceed to quote "I want a hero, an uncommon want," &c., &c.,
as a paraphrase of the Psalms of David? The only apology left for Mr. Leggatt is,
mutatis mutandis, to acknowledge this to be his position.

We trust we have said enough to teach Mr. Leggatt that it is wiser honestly to acknowledge an
error than to support one untrue assertion by another, the last error being worse than the first.

And to prove that we can take the advice we give, we think it right to say that we made one mistake
and one or two slight omissions in the critique alluded to.
Trusting to memory, and equally familiar with both compositions, we gave the overture in
question to the opera of the Zauberflote instead of Don Giovanni; and in noticing Mrs. Wallace's
mistake in singing "He shall feed his flock," we ought to have mentioned that many of the old editions
have that reading. In noticing, also, the inferiority of the solos generally, we should have remarked the
very efficient services rendered by the solo singers in the choruses,
which as well as the orchestra must have surprised and delighted every amateur in the audience.
In all other respects we believe our critique to be strictly correct and just, although it
may not, and never was intended to, satisfy those who, without possessing the rudiments of the art,
thirst for supreme distinction in our musical world.

Mr. Deane's concert on Wednesday evening attracted a brilliant,
and considering the "pressure of the times," a numerous audience, at the Victoria.
The overtures to Gustavus and Acteon were well executed, and seemed more calculated to please the Sydney amateurs
than those selected on former occasions, which, though doubtless more scientific, wanted the lightness
and brilliancy of Auber's compositions. The band of the 80th seemed to blend most happily
with the string instruments - equalising, by a judicious softening down of its power, the hitherto ill-matched
contention of catgut against brass. It is much to be regretted that more frequent opportunities should not be afforded
for such happy displays of instrumental skill as that of Wednesday evening. The defects were
slight, the consequences of a hurried rehearsal, while the beauties were numerous -
proving, beyond all question, that we possess the elements of an orchestra, that, under the skilful
management of our experienced masters, and the absence of petty professional jealousy, would
bid fair to equal, if not surpass many of those of the principal theatres at home . . .

*

22 September 1842, opening of the season, Royal Victoria Theatre, Leggatt (orchestra member)

"Theatricals", The Sydney Gazette and New South Wales Advertiser (17 September 1842), 2

It is with much pleasure we avail ourselves of calling the attention of our readers to the
advertisement in our columns of to-day, announcing the re-opening of the Victoria Theatre,
on the evening of Thursday next, under the distinguished patronage of the Stewards of
the Homebush Races, and the Members of the Jockey Club . . . The following are the members of the
Corps Dramatique, for the season: - Messrs. Nesbitt, Knowles, Fenton, Jones, Peat, Lee,
Chambers, Collins, Simes, Dibden, and Grove; Mesdames O'Flaherty, Thomson, Knowles,
Larra, and Wallace; two Misses Jones, Miss Thompson, and 6 from England. The Orchestra:
Mr. W. Wallace; Mr. Wallace, sen.; Mr. Leggatt; Mr. Deane; Messrs. Deane, Portbery, Walton, O'Flaherty,
Pappin, Downes, and Weston; also Mr. Gibbs, from England, who is expected daily by the Trial.

On Friday last, the Normal Institution was examined in the presence of several literary gentlemen, and parents . . .
At the close of the business the following prizes for proficiency, were distributed by
Mr. Gordon, master, who prefaced the distribution by a few remarks on the standing and attainments of the young persons under
his charge . . . Master W. L. Leggatt, prize for composition and penmanship . . . Master T. Leggatt, prize for general knowledge . . .

The depression in every department of trade, and all branches of industrial energy,
and a variety of local causes, uncontrollable by taste, seem to militate against any hope of considerable resuscitation for the drooping votaries of Polyhymnia.
The professors of "harmony divine" are, therefore, gradually disappearing from our cycle, and music and musicians, with us, will soon
number only amongst the things that were.
Few artistes have arrived here towards whom so much interest has attached as to Monsieur and Madame Gautrot;
Monsieur a fine specimen of a violin player of the old school, and Madame, a cantatrice sincerely attached to her art in its highest forms,
and delighted to devote her powers to its advancement. Arriving as strangers amongst us, without any flourish of trumpet,
and without the advantage of stage display, they obtained the universal suffrage of the public in their favour.
The times, however, have shed their evil influences on these interesting foreigners, and it as been with regret we have heard
that misfortune has pressed heavily upon them. To enable them to seek in other climes that fostering patronage
which the Sydney public could no longer extend to them, it was arranged that a concert should be got up for their benefit,
and the requisite arrangements having been made under the auspices of their kind friend and patron Dr. Russell,
the performance took place on Wednesday evening, at the Royal Hotel. The principal members of the musical profession
afforded their gratuitous aid; the programme, including an admirable selection, sustained by the talent of Madame Gautrot,
Mrs. Wallace, Mrs. Gibbs, among the vocalists; and of Monsieur Gautrot, Messrs. Wallace, Leggatt, Gibbs, Deane,
O'Flaherty, &c., amongst the instrumental performers.

In 'addition to their immediate musical friends, Mr. Joseph Simmons, with much kindness,
stepped out of his usual professional routine, and gave them the benefit of his attractive name . . .
Gautrot, Leggatt, and Wallace, on their respective instruments, displayed their well known skill,
and made us the more regret the little encouragement the public now afford them . . .

ROYAL CITY THEATRE, MARKET-STREET. PROPRIETORS, MESSRS. SIMMONS AND BELMORE.
The Public is most respectfully informed, that every arrangement connected with this establishment being completed,
the Proprietors have the honour to announce their OPENING NIGHT for SATURDAY, the 20th May . . .

The Orchestral Selection for the evening which will be performed previous to the several Pieces, and between the Acts,
include Haydn's Symphony, No. 2; Mozart's Overture to L'Irato; Rossini's Overture to Il Barbiere di Seviglia,
and Brilliant Arrangements of Strauss Valses.

ROYAL CITY THEATRE. MARKET-STREET.
PROPRIETORS: MESSRS SIMMONS AND BELMORE.
THIS EVENING, WEDNESDAY, 24th MAY,
being the Anniversary of the Birth of Her Majesty QUEEN VICTORIA,
the Managers have determined upon producing such Performances for the occasion,
as cannot fail to give general satisfaction.
THE Evening's Entertainments will commence with, for the second time in this Colony,
a Drama, in two acts, written by Gilbert Abbott A'Beckett, Esq., entitled
THE ASSIGNATION; OR, WHAT WILL MY WIFE SAY?
The Orchestra will, in the course of the evening, perform the Overtures to "FIGARO," and "THE CALIPH OF BAGDAD."
At the end of the Drama, the Curtain will rise for A GRAND MELANGE,
In which the whole Vocal strength of the Company will be displayed, commencing with "GOD SAVE THE QUEEN."
Song, "Oh what a joyous day," Mrs. Ximenes
Song, "All is lost now," - Bellini - Mad. Gautrot
Song, "Shakspeares Seven Ages," Mr. J. Simmons
Song, "Love not," - Hon. Mrs. Norton - Mrs. Knowles
Comic Dance by Mr. Fitzgerald, to be followed by a popular Pas de Deux, by Miss Jones and Miss Thomson
Song, "Sweetly o'er my senses stealing," Mrs. Wallace
The Irish Lilt, by Miss E. Jones
"Rule Britannia," Madame Gautrot, assisted by the whole of the Company.
The Evening's Entertainments will concluded with the performance of the much admired Farce of,
HIGH LIFE BELOW STAIRS.
LEADER OF THE BAND, MR. WALLACE.
CONDUCTOR, MR. LEGGATT . . .

ROTAL CITY THEATRE . . .
In announcing the following Bill of Fare for
THIS EVENING, MONDAY, the 29th, MAY,
The Managers feel assured that upon no occasion has such a PHALANX OF TALENT been brought into play upon one and the same evening.
At Seven o'clock the Orchestra will play Rossini's Overture to the Barber of Seville, and a favourite overture by Haydn.
AFTER WHICH, the Curtain will rise for a new Drama, in two Acts, written by W. H. Oxberry. Esq.,
and called THE DELUSION; OR, IS HE MAD? . . .
At the end of the Drama, A Song - By Madame Gautrot.
After which will be performed, for the first time here, a Drama, of deep interest, in two Acts, founded on an American tale, entitled
THE EMIGRANT'S DAUGHTER; OR, ON NEUTRAL GROUND . . .
To be followed by A new Pas de Deux, by the Misses Jones and Thomson.
A Dance, by Mr. Fitzgerald.
The Evening's Entertainments will conclude with the justly celebrated
and highly laughable and musical Burletta, written by C. Nagel, Esq.,
with new Songs, &c., composed for this occasion, called
THE MOCK CATALANI IN LITTLE PUDDLETON.
William (the Mock Catalani) - Mr. Simmons
Ensign and Commandant O'Leary, - Mr. Hambleton
LEADER OF THE BAND, MR. WALLACE.
CONDUCTOR, MR. LEGGATT . . .

ROYAL CITY THEATRE . . .
THIS EVENING will be presented, for the second time, Shakspeare's admired Tragedy, in five Acts, entitled
OTHELLO; OR, THE MOOR OF VENICE
OTHELLO - MR. NESBITT.
After the Tragedy, the Curtain will rise for the following Entertainments:Commencing with the grand Overture to Henry IV [Jean-Paul Martini].
Duet, "Now hope, now fear," (from the Opera of Guy Mannering.) [Bishop] - Mr. Simmons and Mrs. Wallace.
Comic Song, "Guy Faux," - Mr. Lee.
Song, "My Father Land," - Mrs. Ximenes.
A Comic Dance, by Mr. Fitzgerald.
Song, "La Rose D'Amour," - Mrs. Wallace.
A Song, by Madame Gautrot.
Song, "The Old Maid," Miss Jones.
The celebrated Comic Song, "The Spider and the Fly," Mr. Simmons.
The Highland Fling, by Miss E. Jones.
To conclude with the "National Anthem," Verse and Chorus, by the whole of the Company.
The Evening's Entertainments will conclude with, for the first time at this Theatre,
a Farce, written by E. Stirling, Esq., called BACHELORS' BUTTONS.
LEADER OF THE BAND, MR. WALLACE.
CONDUCTOR, MR. LEGGATT . . .

ROYAL CITY THEATRE . . .
THIS EVENING will be presented, for the first time at this Theatre, Sheridan Knowles' admired play, entitled
WILLIAM TELL . . .
At the conclusion of the play, A MELANGE, including Singing and Dancing, commencing with the
Overture to "La Dame Blanche"
Song, "I seek her on every shore," Mrs. Wallace
A Pas-Seul by Miss Jones.
Comic Song, in character, "Corporal Casey," Mr. Simmons
A Dance by Mr. Fitzgerald
Aria from "La Gazza Ladra," Di piacer, Madame Gautrot
A Hornpipe, in character, Miss Jones.
Song, in character, "The Banners of Blue," Mrs. Knowles.
Song, "The Sea," Mr. Griffiths.
The Evening's Entertainments will conclude with, for the first time, at Half-price,
Coleman's Comedy, entitled' THE REVIEW; OR, THE WAGS OF WINDSOR.
LEADER OF THE BAND, MR. WALLACE.
CONDUCTOR, MR. LEGGATT . . .

ROYAL CITY THEATRE . . . CITIZENS OF SYDNEY! THIS EVENING, Tuesday, the 13th June, 1843
will be presented, for the first time at this Theatre, Shakspeare's Comedy, in three Acts,
entitled TAMING OF THE SHREW; OR, KATHERINE AND PETRUCHIO. After which will be performed,
a Grand Concertante by Mr. Leggatt and Monsieur Gautrot . . .

Mr. J. Simmons proceeds in his opening campaign with a spirit which appears
to soar above all the difficulties which must necessarily occur in an undertaking like that he has embarked in . . .
The performances of the past week have been selected with much care and attention;
and the programme of this week's entertainments bespeaks the approval of his patrons.
Some delightful singing by Madame Gautrot, whoso selections from the Italian school are distinguished by the best taste,
and some instrumental performances by Monsieur Gautrot, Mr. Leggatt, and Mr. S. W. Wallace,
have added greatly to the attractions of the bills, and will, we trust, be continued during the season.

"NEWS AND RUMOURS OF THE DAY", Australasian Chronicle (27 June 1843), 3

The City Theatre has not been opened since Friday last;
but from what ae have heard, we have reason to believe that it will be re-opened,
and not suffered to die a natural death as would at present appear.

This handsome edifice was opened for Divine service on Monday last.
A pontifical High Mass was sung by the Archbishop, assisted by the Rev. V. Bourgeois, as Deacon; and the Rev. Peter Young, as Sub-deacon;
the Rev. Dr. Gregory acting as master of the ceremonies. The Sermon was preached by the Rev. F. Murphy, and consisted of a Panegyric of
the patron of the Church. The choral part of the service embraced Mozart's 12th Mass, with Guglielmi's Gratias agimus,
as an offertory, and was executed by the choir of the Cathedral, with all the additional vocal and instrumental force that was available.
The choir embraced most of our principal singers. The orchestra was selected from the band of the 80th, and from that of the Victoria.
Unfortunately the original instrumental score of Mozart was not within reach;
and the attempt to reproduce such a score from a compressed organ accompaniment, like most similar acts of temerity was,
however necessary, under the circumstances, in some sense a failure; yet in some passages of the Kyrie and Gloria,
Mr. Legatt hit more closely upon the original than could have been anticipated. It is no blame,
however, to say that in other parts he was sadly astray; but even this, the body of the harmony being preserved,
was not so injurious to the general effect as the injudicious abridgements in the cum sancto Spiritu and the Agnus Dei,
the latter of which, from some cause or other, concluded in a complete jumble. Apart from these mistakes, both
the vocalists and instrument players merit very great praise for their exertions; and we think it would be very well worth their
while to give a few more rehearsals to the entire of this sublime composition, and bring it out in a manner worthy of the inimitable author;
either on one of the ensuing festivals, or for the benefit of some public charity.

"SYDNEY INTELLIGENCE. CONSECRATION OF ST. PATRICK'S CHURCH", Colonial Times (9 April 1844), 3

. . . Soon after ten o'clock, the gallery and reserved seats were filled, and at eleven
o'clock the service commenced-the Right Rev. Dr. Polding performing High Mass at the Altar,
and Father Murphy pronouncing the eulogy of St. Patrick. The ceremony was assisted by a powerful
concentration of musical talent, the united efforts of the Military, Theatrical, and one of the Temperance Society's Bands,
being brought into action, under the direction of Messrs. Leggatt and Wallace.
The female vocal parts were sustained by Mrs. Bushelle and Mrs. Curtis, supported by a host of
male voices, and the whole of the arrangements went off with much effect, and obviously to the gratification of the crowded auditory. - Australian.

THIS EVENING, AUGUST 25, Will be presented, for the first time,
Weber's celebrated Opera, in three acts, entitled DER FREISCHUTZ; OR, THE SEVENTH BULLET.
With the original music, new scenery, dresses, properties, &c., as performed at the Theatres Royal Drury-lane and English Opera
House. Adolph, Mr. J. Howson. Caspar, Mr. F. Howson. Linda, Mrs. Stirling. Rose, Madame Carandini. A Pas de Deux, by the Misses Griffiths.
Song, "The Old Woman," in character, Mrs. Gibbs. A Pas Seul, by Madame Veilburn. To conclude with the admired Melo-Drama, in two acts,
called THE BLIND BOY; OR, THE PRINCE OF SARMATIA. Edmond, (the blind boy) Madame Louise. Oberto, Mr. Grifliths. Molino, Mr. Simes.
Elvina, Mrs. Stirling.

The event, not only of the week, but of the season, has been the production of the popular,
and beautifully dramatic Opera, Der Freischutz.
The essentially descriptive character of the whole of Weber's music, and of this composition in particular,
rendered the undertaking a great one. Therefore, while we naturally entertained some solicitude on the adequate representation
of this work of genius, by our Sydney Company, we were not disposed to be unreasonable in our exactions,
but to view the effort with that indulgent consideration, which, on every account, the management were entitled to claim at our hands.
And we may, in the outset, state, that making due allowances for insuperable local disadvantages,
a high degree of praise must be awarded for the pains that have been taken to place this magnificent composition before the
public in a creditable manner, while the company, generally, deserve great approbation for the care and ability
with which they have endeavoured to make the undertaking effective.

It must, however, not be forgotten, that, as regards many of the adjuncts,
and which so materially contribute to the effect of this piece, we have not the same facilities as at home.
We shall not stop to say anything on the excellence of that, which has received the unqualified sanction of the whole civilised world,
but proceed forthwith to notice it as submitted to us on Monday, and the subsequent nights.

The first thing that presents itself to our observation, is the constituency of the Orchestra,
with reference to the business to be performed. And here, an admitted material difficulty arises.
The character of the music requires a Very large proportion of wind instruments, and in this respect the Orchestra is extremely feeble.
The horns should predominate, and there are but two - of which, one is little more than nominal.
Nevertheless, the difficulty was surmounted much more successfully than we had anticipated.
Not alone was the overture well played, but, so far as the musicians were concerned, the piece was efficiently performed.
The proviso we have just made was necessary, from the fact, that some of the singers were so utterly regardless,
or so utterly ignorant, of time and tune, that it would have been impossible for the most skilful in the art to have accompanied them . . .

When we heard that the management of the Victoria intended to produce Weber's Der Freischütz,
with the present inadequate company, we had a gloomy presentiment of the painful disappointment which awaited the lovers of German music;
and we sincerely wished that some judicious friend of the proprietors, would urge them to follow the advice, we took leave to offer
on the occasion of the late violence done to Auber's Fra Diavolo . . .

. . . The management ought to know that to perform the Freischütz with full effect,
every aid that the orchestra can supply, or that first-rate vocal artists can give, together with all the addenda of scenery,
machinery, and display are required. But the singularly weak orchestra of the Victoria was in every respect inadequate to the task.
The two or three violins were at sixes and sevens, frequently losing sight of their functions or accompaniments,
heedless of the time of the singers, and see-sawing away at the awe-inspiring score with decidedly less ease than .when fiddling through
the Irish quadrilles. The trombones and other wind instruments, which have to play the magnificent discords and resolutions in the Incantation scene,
were represented by two tuneless horns that discoursed anything but music. In fact, but for Messrs. Wallace and Leggatt,
who did all they could to redeem the defectuosite d'orchestre, we might, with justice, declare it inferior to a street-band.
The weakness in this all-important department was not counterpoised by any scenic effects, wherein the abundant resources of
the theatre might easily have been made available. The Incantation scene, was denuded of all its attributes of fearful diablerie;
and the evil spirits, from Zamiel downwards, by their grotesque antics and drolleries, brought back boxing-day,
and its attendant comic pantomime, rather than the days of the Flagellum Demonum, and the Malleus Maleficarum.
Surely Mr. Grove, who on most occasions is a judicious adjunct, ought to be aware that Zamiel should inspire
terror, riot laughter: yet his burlesque of this difficult character marred the entire effect of the opera.

NORMAL INSTITUTION. The Young Gentlemen attending the
classes of this Establishment underwent their annual examination yesterday,
Friday, previous to the Christmas holidays. The attendance of visitors was numerous, and
much interest was taken in the business of the day. The opinion of all was, that the
high character the Institution had borne for the last eleven years was fully sustained in
the progress made by the pupils during the year, made obvious by the answering on the
present occasion. The writing, plain and ornamental, was certainly equal, if not superior,
to that of former years, and this is saying much.
The following classification of names will show the comparative merit of the young gentlemen who received prizes . . .
ENGLISH GRAMMAR - B. Campbell, J. Soole, E. Harris, H. Jargal, J. Struth, and T. Leggatt . . .
WRITING - Here the specimens of ornamental were so nearly equal as to make it difficult to decide;
those of T. Leggatt, Campbell, Ashmore, Craig Hill, Ireland, Boyles, were very beautifully executed . . .
GOOD CONDUCT. - Ashmore, Harris, Craig, Wilshire, A. Leggatt, and Blackman.

On Thursday morning Mr. Leggett, publican, of Sussex-street,
whilst engaged reading the morning newspaper, fell from his chair, and on assistance
being rendered, he was discovered to have breathed his last. - Australian, May 2.

. . . Mr. Leggatt, a first-rate oboe and clarinet performer,
and the only musician in Sydney who was sufficiently versed in the theory of music to arrange orchestral parts correctly,
and who formerly filled the office of Military Band-master for upwards of 40 years,
was from the little encouragement he experienced in his profession, compelled to turn publican, and lately died in a small public-house in Sydney,
having an amiable wife and family to deplore his loss.

Dear Mother, I enclose a money order for £21 which please keep in the house until I
write you what to do with it as soon as I can get some
more sufficient to make it worth while you can bank it
I may however draw on it Capt Lyons vessel takes this
letter up to Sydney so that he will be as good as another letter.

Things are very dull in Fiji just now and only
for a little fighting which is going on somewhere back [1v] in the mountains we would
die of ennui – I see we are going to have the Mail Steamers calling here again
which will make Fiji very convenient to Sydney We have already had one steamer from New Zealand
in six days even this is a great improvement but unfortunately we have hardly any what you would
call money here the currency being paper which is only negotiable on the beach the consequence was that the
steamer had to take back nearly all the cargo she brought – and all the sovereigns [2r]
in Luvuka – We have no bank here so that every vessel that
leaves here takes all the ready money she can – I had the
greatest difficulty in scraping up 20 sovereigns to get this
draft from the man of war and if I could not have got
it would have had to send the cash by Capt Lyons.

We are threatened however with a bank here before
long which if it comes and make a complete [ ? ] in affairs.
The government however are carrying on for [ ? ] and the consequence is that the country is deeply in debt.
We are expecting the Dancing Wave in by which I hope [2v] to have a letter from you
and in the mean time will remain

In the will and codicil of Susan Leggatt, late of Balmain, near Sydney, in the Colony of New South Wales, widow,
deceased. NOTICE is hereby given, that after the expiration of fourteen days from the publication hereof, application will be made to
this Honorable Court, in its Ecclesiastical Jurisdiction, that probate of the last will and testament and codicil thereto of
the abovenamed deceased, may be granted to William Ellard, of Sydney aforesaid,
the only surviving trustee and executor in the codicil to the said will named. - Dated, this 5th day of January, a.d. 1874,
JOSEPH LEARY, Proctor for the said William Ellard, 108, King-street.

Winner of the gold medal for soprano (out of 36 competitors) at the recent A.N.A. competition,
and who scored a big success at the Town Hall yesterday week. Miss Leggatt is a pupil of Mr. Henry Weir,
who predicts a bright future for her in light opera.

Family sources

[Extracts from] William Ellard Leggatt (1855-1937) (son of William Lube Leggatt), "Biographical memoirs and incidents in the life of W. E. Leggatt", unpublished typescript, ? c. 1930, family collection

The history of the Leggatt family in Australia and New Zealand began when my Grandfather Major Thomas Leggatt
of the Seventh Hussars retired from the Army some time after the Battle of Waterloo that was in the year June 18th [sic] 1815.
However on his retirement he was advised to come to Sydney for his health [sic] sake, accordingly about the year 1836.
He left Dublin in Ireland for the sunny shores of New South Wales. He was a fine old Irish gentleman fair tall and
of a commanding military bearing and a staunch member of the Masonic order also the Church of England.
= Who had been band master in his regiment, therfore as a matter of fact a good musician,
one of his favourite instruments being the oboe also he was remarkably good on the Violin.
But strictly speaking there was a strain of French in him for his mother was original a Miss Mols
the daughter of a french Hugunot [sic] refugee to Ireland. However my Grandfather came to Sydney
and brought his wife Susan and four children - My father William Lube being the eldest then a lad of about eight years of age -
next came a daughter Miss Sophia Leggatt and them Thomas and Alfred - these children grew up and were educated at Sydney.
Then a colony emerging from an earlier convict settlement and later other relations of the family migrated to Australia
notably the Ellards and Logans. And it is much to be regretted that among the passengers of the ill fated ship Dunbar which was
so tragically wrecked at the Gap at Sydney Heads on the night of August 20th, 1857. -
Was a Miss Ida Logan she is said to have been a talented musician who had just finished her education in England and Ireland
and who intended taking up a musical profession in Sydney.

But alas the crash of the bold Dunbar into the beetling cliffs at the Gap which Captain Green mistook for the entrance.
Cut all this short form only one poor seaman survived this frightful calamity.

But as already stated my Grandfather a retired Crimean [sic] Soldier
who had gone through the notorious Battle of Waterloo had still much enterprise left in him
for he opens an Hotel in Sydney and became posessed of some property such as land at Lake Macquarie,
house and land in William Street, property in Clarence Street, cottage at Balmain etc.
Such is a short synopsis of my Grandfather's career in Sydney,
and of his family neither Sophia nor her brother Tom married anyhow Sophia was some what of an invalid
suffering from the effects of a paralysed side. Thomas went to the Fiji Islands
where he owned an extensive plantation but died there a comparatively young man,
I believe as the result of fever and I never heard what became of his estate . . .

Musical works and arrangements (all presumed lost)

Coronation quadrilles (published edition, Dublin, 1821)

["THE CORONATION QUADRILLES . . . to which is added, King George the IV. Grand Waltz, and the Circular Road Waltz;
the Music arranged for the Harp, or Piano-Forte, by Mr. LEGGATT, Master of the 7th Hussar Band,
and Dedicated, by permission, to the Lady Mayoress."]

Bibliography and resources

. . . . Mr. Wallace, brother of Vincent Wallace, was also a performer on the flute, and some years after
led a theatrical orchestra, playing the violin. Another prominent musician was Leggatt, once in the
band, or a regiment [56] stationed in Sydney; his principal instrument was the oboe. The concerts with
any pretensions to classical and other high-class music were given by Mrs. Prout and Stephen Marsh, a
harpist and composer . . .

"Sydney Sixty Years Ago", Australian Town and Country Journal (19 June 1897), 24

. . . Music in the early days of Australia was not a strong point.
Although several ladies had given musical entertainments, it was not until the end of the thirties that any notable musicians were heard.
Governor Bourke's daughter, afterwards Mrs. Deas-Thompson, encouraged everyone she came in contact with,
and about this time some excellent concerts were given. Mrs. Prout, Mrs. Taylor, Wallace (Vincent's brother), Stubbs, Leggatt, Simmons, and
Stephen Marsh were all well known, and drew crowded houses . . .

. . . Probably the first full-scale performance of Messiah in Australia
was given at the Royal Victoria Theatre in Sydney on 31 August 1842. It was organised by James W. Johnson,
organist of St. Mary's, and Thomas Leggatt, a second cousin of Wallace who had come to Sydney as a military bandsman.
Leggatt conducted 20 trebles, 12 altos, 14 tenors, 16 basses, and an orchestra including clarinets, horns, trombones, and two bass drums . . .